Autumn Durald Arkapaw: First Black Woman to Win Oscar for Cinematography

by Chief Editor

Autumn Durald Arkapaw made history Sunday night, winning the Academy Award for best cinematography for Ryan Coogler’s film, “Sinners.” The film is a Southern gothic story that blends genres.

Did You Know? “Sinners” was the first film shot entirely in two different large formats: Ultra Panavision 70 and Imax.

During her acceptance speech, Arkapaw asked all the women in the room to stand, stating, “I don’t get here without you.” She expressed gratitude for the support she received from women throughout the campaign.

Arkapaw is also the first Black cinematographer to receive the award. She acknowledged the collaborative spirit with director Ryan Coogler, noting his consistent response to her thanks: “No, thank you.”

This win marks a significant moment for women in cinematography. Prior to Arkapaw, only three other women had been nominated for the award: Rachel Morrison in 2018 for “Mudbound,” Ari Wegner in 2022 for “The Power of the Dog,” and Mandy Walker in 2023 for “Elvis.”

Expert Insight: Arkapaw’s win represents a breakthrough in a field historically lacking representation. Her achievement could inspire future generations of female cinematographers and challenge existing industry norms.

Arkapaw previously collaborated with Coogler on the 2022 film “Black Panther: Wakanda Forever.” Her other cinematography credits include “The Last Showgirl” and “Teen Spirit.”

Frequently Asked Questions

What film did Autumn Durald Arkapaw win an Oscar for?

Autumn Durald Arkapaw won the Oscar for her work on Ryan Coogler’s film, “Sinners.”

How many women had been nominated for the cinematography Oscar before Arkapaw?

Before Autumn Durald Arkapaw, three other women had been nominated for the cinematography Oscar: Rachel Morrison, Ari Wegner, and Mandy Walker.

What formats were used to film “Sinners?”

“Sinners” was the first film shot entirely in two different large formats: Ultra Panavision 70 and Imax.

As Arkapaw’s win shines a light on the evolving landscape of cinematography, what impact will increased representation have on the stories we see on screen?

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